Tall Clock, Federal, Inlaid, Attributed to Nathan Lombard, Sutton, Massachusetts
Mass., Circa 1800 to 1810
Distinct stylistic, ornamental, and construction details support a strong attribution to Nathan Lombard (1777-1847). The cherry case with mahogany banding features chevron stringing and stylized foliate ornamentation; all characteristics of Lombard's inlays and shop traditions. The urn and foliate motifs issuing crossing vines, tulip heads, rosettes and droplet-shaped leaf inlays relate it to those found on several desk- and - bookcases attributed to Lombard (see Jobe and Pearce, " Sophistication in Rural Massachusetts: The Inlaid Cherry Furniture of Nathan Lombard" in Beckerdite, American Furniture (1998), p.166, fig.3 and p.181, fig.32) as well as to a group of candle-stands (see Jobe and Pearce, p.188, fig.46; p.189 figs. 47-49; p.192, fig.54, see also Christie's, June 17, 1997, lot 415). Constructional features relate this clock to other pieces attributed to and signed by Lombard; they include small, widely s paced glue-blocks at the case bottom; a feature found on many Lombard case pieces including a chest that bears his signature (Jobe and Pearce, p.173).
There are nearly forty objects attributed to Nathan Lombard, however, only one other clock (private collection) is currently associated with Lombard’ s shop (illustrated in Jobe and Pearce, p.187, fig. 42). Upon comparison of the two clocks the viewer will observe overall case and ornamental similarities including deeply cove-molded arched cornices; relatively simple, unsigned dials with related enameled designs, fitted with nearly identical hands; also fluted colonettes with Corinthian capitals and molded brass bases; reeded quarter columns with brass bases; and capitals resting on engaged and inlaid plinths. As is often the case, the case was once reduced in height; a horizontal section of the base equal to the height of lower cross-banding and the lower half of each foot was removed. The aforementioned now expertly restored to full height in an undetectable and most successful manner. (H: 95” )
Mirror, Mezzotints, Armchair, Chest of Drawers, 18th and 19th Century
Mirror, Dutch Ebonized Ripple Molded Frame, Looking Glass, Circa 1680
Large size period frame, overall: 22 by 24” , view area 13 by 10.5”
Period example retaining original surface
Good condition with minor imperfections consistent with age, use and environment.
Mezzotints, Pair of Portraits, George III and His Queen Charlotte
King George by Charles Spooner after Jeremiah Meyer, Circa 1760 to 1767
(Framed by Perry Hopf; imperfections; approximately 18.5 by 25” , sight-size: 14 by 20” )
$1,285 for the pair
Copper Alloy Gothic Candlestick
Five Discoid Knop Form
North West Europe
The long flaring socket having rounded molding at rim is pierced with square extracting aperture above shaft with five interspaced ring turned discoid knops above base featuring a stepped cone within waisted, integral drip base-tray above a flaring skirt. (Dimensions: H: 10.75 ” )
A Period Turned Great-Chair with Oversized Pommels
New London County, Connecticut, Circa 1700
A Classic Example of Early Connecticut Craftsmanship
Maple and ash, great red painted surface
Although the Heart and Crown Collection New London County turned chair has sustained some damage and loss, it retains the characteristics that define its type. The slats retain their original elaborate, shaped profiles that are lost or damaged on many other examples. The posts have been extended 3” below the original lower stretchers. The finials are intact other than the replacement of a small section of their rounded front faces that were removed to accommodate a horizontal brace accommodating early upholstery. An ancient loss of approximately 40% of the proper-left handgrip has been expertly restored. The splint seat is exceedingly old and may date to the 18th-century. The red paint is probably of 18th-century origin. Extensive tool marks are visible beneath this pigment, indicating that the chair has never been refinished or heavily cleaned. One of the side rails projects through the back-post. This is not evidence of damage or restoration. When the chair was made, the turner miss-bored the mortise for the seat-rail and drilled entirely through the post. Rather than abandoning the post, he simply drove a wedge through the protruding back end of the seat-rail to secure it in place.
A nearly identical chair is in the collection of Winterthur Museum and is illustrated in American Seating Furniture, 1630-1730, p. 126, catalog entry 15.
A group of some thirty highly distinctive, slat-back turned great chairs represent the single largest recognizable group of 17th-century New England chairs. Although varying slightly in design and execution, the chairs are configured with impressive lemon-shaped finials, posts turned with deep urns, and heavy sequences of incised lines. The deeply scored barrel-form arms are set in angled mortises, raking sharply from back to front. Three slats designed with upper edges shaped with the profile of opposing brackets form the back. Instead of the ball-form handgrips common on 17th-century turned-chairs, the front-posts terminate in massive pommels that often exceed the diameter of the posts by 300%. This latter feature constitutes the most iconic diagnostic trait and an indication of the high value of these chairs when new as the added work involved in their creation substantially increased labor and cost.
Many of the chairs were discovered in the Eastern Connecticut towns of New London, Norwich, Colchester, Lebanon, and Preston under circumstances that indicate that they had yet to reach antique status when they were found, it is unlikely that they had not strayed far from their point of manufacture. The stylistic elements of the New London County chairs deviate substantially from 17th-century English chair design practice. The extravagant finials and shaped slats are far more consistent with Dutch turning tradition. Although no craftsmen of Dutch descent have been documented in Eastern Connecticut, the possibility exists that a yet unidentified artisan from the Nederland’ s may have been living and working in the vicinity of New London. This chair is an emblematic example of the group, possessing the full set of highly recognizable structural and ornamental traits. (Height: 45.75”; Seat Height: 16.75”; Width: 24.5”; Depth: 18.5”)
A Period William and Mary Chest of Drawers
Boston or Salem, Massachusetts, circa 1700-1725
Maple, pine and walnut veneer
The rectangular molded top above a case containing two short drawers over three graduated long drawers; drawer fronts feature burl walnut veneer within herringbone banding; the molded base raised on ball feet resting on full conical pads. Feet are likely old replacements as are the engraved brasses. (Height: 38.5"; width: 36"; depth: 19.75")
Period Queen Anne Cherrywood Bonnet-Top Secretary
Connecticut, circa 1775
Cheery primary, poplar and white pin secondaries
A particularly attractive example of rural Connecticut origin in wonderful old surface; the secretary in three parts…a desk on frame surmounted by a bookcase, an ambitious and immensely successful effort by a gifted rural cabinetmaker.
The bonnet-top having cyma scrolled tympanum with bold conforming moldings; the side plinths having finials rising above the case stiles; the cresting centered by a plinth with flame turned finial. The powerfully raised panel tombstone doors conceal deeply carved scalloped domes, and a sophisticated arrangement of letter slots and book shelving; the whole above candle slides featuring molded fronts [below the doors on either side].
The desk of four graduated thumb molded graduated drawers below a well crafted slanted fall-board concealing a removeable prospect section at center, actuated by a secret spring lock; behind the prospect is a drawer for documents, and a concealed trap door to three original coin drawers, which are positioned behind the full width top drawer of the desk proper; the prospect is fronted by a removeable well carved sunburst centered drawer.
The desk is unusual in construction whereas it is supported by a separate frame raised on graceful cabriole legs featuring accentuated sweep and attenuated stance on out swept pad feet. The rhythmically scroll carved molded apron provides motion…visual excitement. The acceptance molding of the two cases display appropriate and successful molded contour accentuating a balanced union and is repeated at the base of the frame. The proportions, drawer graduation, and overall vertical orientation cannot be overstated.
In exceptional structural condition; having wonderful old surface; finials are replacements; added glue block to interior bonnet roof to compensate for the shortened bonnet edge of the top side in the bonnet backboard, restoring it to the correct placement and contour within the bonnet architecture (the shortened edge was certainly done to accommodate a lower ceiling height. Desk interior: some valances restored, some interior drawer bottoms replaced with period stock, sunburst carved prospect door is replaced; 150-year-old restoration to applied scrolled molding on the proper right-side bottom of the frame; added braces at corners of the frame with later screws.
Reference: For related examples see:
Connecticut Valley Furniture; Eliphalet Chapin and His Contemporaries, 1750-1800; Thomas P. Kugelman and Alice K. Kugelman with Robert Lionetti; Connecticut Historical Society Museum; Hartford, Connecticut; 2005; Catalog 55; Desk-and-bookcase-on-frame; possibly Middletown; pp. 129-131.
Connecticut Valley Furniture; Eliphalet Chapin and His Contemporaries, 1750-1800; Thomas P. Kugelman and Alice K. Kugelman with Robert Lionetti; Connecticut Historical Society Museum; Hartford, Connecticut; 2005; Catalog 153; Desk-and-bookcase-on-frame; possibly; Glastonbury or Middletown; pp. 332-333.
Dimensions: Height: 92”; Secretary width: 34.5”; Desk width: 37.5”; Depth: 20”.
Antique Folk Art, Mountainous Landscape Village with Train Scene
Anonymous, 19th Century
A colorful composition displaying the Dutch flag, possibly painted in America
Possibly Limburg, a Dutch Colony or a fantasy scene. Limburg is the only hilly part of the Netherlands and had some industry based on the coal mining in the area; Drenthe landscape is dotted with hills created by a south moving glacier during the last ice age. Of course, this is merely supposition. The magnificent frame is modern, painting is on a clear white pine stretcher; frame: 32" x 39"; view: 30" x 23")
Antique Whale-end Shelf, Best Whale Profile and Scrolls, OUTSTANDING Form
Unknown Maker, 19th Century, Walnut
Three graduated shelves within stile dadoes; the integrity of scrolls insured by amazing splines. Very good condition commensurate with age; expert repairs [glue] to shrinkage fissures. (Height: 29"; width: 27"; depth: 8.75")
A Period Chippendale Candlestand, Circular Top, Dished Edge, Claw & Ball Feet
Probably Thomas Burling, New York, Circa 1760-1780
A fine example featuring a figured dished top raised on elegant baluster turned standard continuing to tripod base [cabriole legs] resting on claw and ball feet. Excellent condition, very good color and patina. (height: 26.75"; top diameter: 23")
Antique 19th Century Audubon Large Folio Hand Colored Lithograph Canada Otter
Philadelphia ,1847 Plate 122
John Woodhouse Audubon large hand colored lithograph from "The Viviparous Quadrupeds of North America". Depicts the male Canada Otter; Lutra Canadensis, Sabine Var. Lataxina Mollis Gray. Lithograph. Printed & Colored by J. T. Bowen, Philadelphia 1847.
Hand-colored chromolithograph on wove paper depicting a large male otter in profile on the bank of a body of water, baring his teeth. Handsomely framed under glass; measures: frame: 37.5" x 31.25"; view: 25.5" x 19.5". Very good condition; not examined out-of-frame…We have several other Audubon prints within our collection.
Important Period American Fireback, The Horseman 1774, Boston
Published: The Bible in Iron by Henry C. Mercer, page 251, no. 397, plate 397
Once owned by Nathaniel Kidder, Boston, Massachusetts
Cast Iron, Arched Top (23.25” by 30”)
Mr. Kidder found the fireback near Boston, and there can be no doubt that the casting, which shows was made by English workman at one of the old Massachusetts, Connecticut or Rhode Island furnaces then in blast. [A letter from William S. Appleton of Boston, to Dr. Henry C. Mercer of June 25, 1917, states that he examined Mr. Kidder’s fireback carefully and that the inscription at the top reads, “Bates the Famous Horseman.” From the Boston Records Commissioners’ Reports, August 27, 1773, “Mr. Jacob Bates, a famous horseman, attended and craves to leave to the selectmen to erect a fence in the Common-in order to show his feats in Horsemanship.”]